Studia Metrica et Poetica 7.1, 2020, 97–113 The Metrical Structure of the Sapphic Hendecasyllable and Sappho’s Aiolikon in Lesbian Poetry Anni Arukask* Abstract: The works of Sappho and Alcaeus, 7th–6th century BC lyric poets from the island of Lesbos, represent the Aeolic tradition of ancient Greek poetry. In this paper, two metrical structures of this tradition, that both have two quantity-free positions (anceps, brevis in longo), are analysed and compared with regard to the quantitative tendencies of these positions. The first metrical structure, the Sapphic hendecasyllable, was used by both poets; the other, aiolikon, is not attested in Alcaeus’s work. The ana- lysed corpus consists of all the survived lines in these meters. Due to the fragmentary nature of the material, the statistical analysis is presented in two sets to add and include the data of the Sapphic and Alcaic lines about which there is a suspicion that they may be in these meters, and also to differentiate dubious data from the undubious. In addition, the statistical data of the quantitative tendencies of the undubious lines is also expressed with generative models. In general, all the free positions, except the ancipites of Sappho’s aiolikon, display a preference for heavy syllables and the prefer- ence is more pronounced in the brevis in longo position, especially when it comes to aiolikon. Comparing the hendecasyllables, Alcaeus tends to have more heavy syllables than Sappho. Aiolikon’s free positions exhibit the biggest quantitative contrast. Keywords: Sapphic hendecasyllable, aiolikon, anceps, brevis in longo, comparative- statistical method, generative models, meter, lyric poetry, Sappho, Alcaeus, ancient Greek poetry Introduction The aim of the paper is, firstly, to present and compare the quantitative tenden- cies in the anceps and brevis in longo positions of two metrical structures in the poetry of Sappho and Alcaeus, two Lesbian singers of the 7–6th century BC, and, secondly, to demonstrate, on the basis of these new data, the generative * Author’s address: Anni Arukask, University of Tartu, Lossi 3, 51003, Tartu, Estonia; email: [email protected]. https://doi.org/10.12697/smp.2020.7.1.04 98 Anni Arukask models of these verse forms. The two verse forms in question are the Sapphic hendecasyllable and Sappho’s aiolikon.1 In Sappho’s corpus, the whole Alexandrian first book (frr. 1–42 V) is in the Sapphic stanza (of which the hendecasyllable forms a part), and fragments in aiolikon are placed into the fourth volume (frr. 58–91 V), which is the first non-monometrical book (cf. Page 1955: 114–115; Lidov 2009: 107; Liberman 2007: 49). There might be a few lines in the Sapphic stanza among fragments without a book classification2 (cf. Voigt 1971: 15). As these two are the most prevalent metrical forms in her preserved corpus, they were chosen for the analysis. Alcaeus has 11–22 fragments in Sapphic stanzas (cf. Voigt 1971: 21), while in Sappho’s case, at least 40 such fragments have survived. In aiolikon, we have 4–12 Sapphic fragments. As there is no firm evidence that Alcaeus ever used that meter (cf. Lidov 2009: 105), only Sapphic lines are included in this num- ber. The full numbers of the fragments in question are presented in such an indefinite manner because the meter of only some of them can be determined with certainty. Alcaeus’s corpus consists of about 400 fragments. Among its 11–22 Sapphic fragments, 10 certainly (61 lines) and 7 probably (22 lines) Sapphic fragments with hendecasyllables could be analysed. In the same vein, Sappho’s corpus has 34 analysable fragments of Sapphic stanza with 384 certainly (from 33 frag- ments) and 11 probably (from 8 fragments) hendecasyllabic lines. In regard to aiolikon, there are 4 certain (32 lines) and 7 probable (26 lines) fragments. The following charts depict the occurrence of the Sapphic stanza andaio - likon in Sappho’s preserved corpus (frr. 1–168C Voigt, 1384 lines from 176 fragments). Chart 1 shows that about 42% of the lines in the corpus cannot be analysed metrically when only the lines for which the metrical value can be determined with certainty are considered. The Sapphic stanza covers about 38% of the corpus and aiolikon 3%. All other meters amount roughly to 18%. Chart 2 adds the lines for which a probable meter can be assigned. Under these conditions, the Sapphic stanza and aiolikon cover about 38% and 8% of the corpus respectively, other meters take 24% and about 30% is left undetermined. 1 The meter was calledaiolikon by the 2nd-century AD Alexandrian philologist Hephaestion, referring to the fact that it was used by an Aeolic poet Sappho, whom he names as its frequent user. He classified it as an ionic and describes it as an acatalectic double tetrameter (to be more exact, three ionics with a trochee at the end). (Hephaestion Enchiridion de Metris 11.5) 2 Unclassified fragments begin from fr. 118 on. Sapphic stanza aiolikon The Metrical Structure of the Sapphic Hendecasyllable and Sappho’s Aiolikon ... 99 other undetermined 100% 90% 80% 70% 60% 50% 40% 42% 30% 38% 20% 10% 18% 3% 0% Sapphic stanza aiolikon other undetermined Chart 1. Metrical distribution of the lines in Sappho’s preserved corpus between the Sapphic stanza, aiolikon, everything else, and undetermined meter when only lines with a surely determined metrical value are taken into account. 100% Sapphic stanza 90% aiolikon 80% other undetermined 70% 60% 50% 40% 30% 38% 30% 20% 24% 10% 8% 0% Sapphic stanza aiolikon other undetermined Chart 2. Metrical distribution of the lines in Sappho’s preserved corpus between the Sapphic stanza, aiolikon, everything else, and undetermined meter when both the lines with a surely determined metrical value and lines with a probable metrical value are taken into account. 100 Anni Arukask Both these metrical structures are examples of the archaic nature of the Aeolic poetic tradition which – among Ancient Greek poetic traditions – is the closest to the reconstructed Indo-European verse in which quantities are regulated only towards the end of the verse and are free towards the beginning (vd. Meillet 1923). Aeolic metrical structures have a fixed number of syllables in a period (no contractions or resolutions), they are for the most part easily divided into cola, and often the first two positions are free in respect to quan- tity, although their realisation as two light syllables is rare (the Aeolic base). As the rhythm in the Aeolic base is thusly limited, West prefers to mark it with symbols ○ ○, not × ×. The cola are asymmetric and cannot be divided into feet3 (West 1982: 29–30; 1987: 32–33). Different authors have used different cola as the basis of their descriptions of Aeolic forms. Among Dietmar Korzeniewski’s three base cola, the one most fitting for these two meters is the hipponactean (hi) 4 (Korzeniewski 1968: 129). At the same time, for Martin West, the iamb is very important in relation to forming new cola by means of extension.5 There also exists a way of forming new cola by means of expansion6 (West 1982: 31–32). The first of these Lesbian metrical structures, the Sapphic hendecasyllable, which was used by both poets, can be described as an acephalic hipponac- tean (“ ” in the abbreviated colon name stands for acephalia) that has been extended with a cretic (cr) in the beginning (Korzeniewski 1968: 129); or, in West’s terminology,⋏ a hagesichorean7 that is prefixed with an acatalectic iamb (West 1982: 32). The fourth position of the line is anceps,8 and the last posi- tion is brevis in longo.9 3 However, Marc Dominicy has made a solid attempt to reconstruct the composition and metrical structure of a large number of Aeolic lines with his new metrical grammar in which the cola are analysed into feet (vd. Dominicy 1994). 4 5 Forming a new colon by means of extension means that another colon (some variant of an iamb) is suffixed or prefixed at a colon’s borders. 6 Forming a new colon by means of expansion means that a colon is amplified by the repeti- tion of another, smaller colon (usually a dactyl or choriamb) one to three times in the middle of that colon. 7 8 Anceps is a metrical position with unregulated quantity which therefore can be realised as either light or heavy (West 1982: 18; 1987: 5). It is never placed beside another anceps, with the exception of the Aeolic base and anaclasis (Maas 1962: 29). 9 The last position of a line is always free and unregulated (either heavy or light, an anceps), The Metrical Structure of the Sapphic Hendecasyllable and Sappho’s Aiolikon ... 101 cr hi or ia ha ⋏ ⋏ For the Lesbians, however, the hendecasyllable is never an independent meter, as it always appears as a part of the Sapphic stanza. The Sapphic stanza is a realisation of a quite common10 aaA verse-form; i.e., the last line is an ampli- fication of the pattern present in the preceding lines (West 1982: 32–33): In the third line, the hendecasyllable has been amplified with an adonic ( ). The stanza is composed of periods that all have feminine or pendant endings. Lesbian authors hardly ever combine lines with endings of a different nature; i.e. all endings tend to be either masculine or feminine (Lidov 2009: 106). Ancient colometry and also many modern editions tend to treat the last line as consisting of an 11-syllable and 5-syllable adonic part that separates into two lines after the 11th position, where caesura is frequent (West 1982: 33). This has resulted in the verse being perceived as a 4-line stanza by the ancient Romans and as well as other European traditions (cf.